Grateful Dead

Blair’s Golden Road Blog — Cornell ’77 Enshrined for the Ages

By Blair Jackson

On May 23, the Library of Congress’ National Recording Registry announced this year’s list of 25 songs, instrumental pieces and historic recordings to be added to the prestigious institution’s permanent collection. There’s lots of great stuff on the list: Prince’s “Purple Rain”; Dolly Parton’s “Coat of Many Colors”; Vince Guaraldi’s “A Charlie Brown Christmas”; Donna Summer’s euro-disco “I Feel Love”; the first-ever commercial recording—a version of “Twinkle Twinkle Little Star,” created for the first talking doll by one of Thomas Edison’s employees; the only surviving record of early 20th century Broadway sensation Lillian Russell; the 1943 NY Philharmonic debut by conductor Leonard Bernstein; the Grateful Dead’s May 8, 1977, concert at Cornell University’s Barton Hall… Whaaaaat? Where did that one come from?

Maybe it helps to have friends in high places. After all, Mickey Hart has been associated with the Library of Congress for many years. But when I asked him about it the morning the list was announced, he denied any involvement. “What can I say? The people have spoken!” he said with a laugh. “It’s true that I wrote part of the legislation for the [LOC’s digitization and preservation] project in 2000. It was copied after the Lucas-Spielberg Film Preservation Act. But when it came to voting, I recused myself.”

Voting? “People have been voting all year, and then the board decides what is culturally significant, and the librarian, James Billington, makes the final cut and the call.”

Ah, the power of Dead Head unity in action. Stuffing the ballot box—a tradition as old as this great republic itself!

All kidding aside, a copy of Cornell 5/8/77 is a perfect choice for the National Recording Registry. Consider this: It has never been released commercially (legally), yet it is probably among the most collected, traded and downloaded concerts by any band ever. That’s not hyperbole, either.

The original pristine audience recordings of this show started circulating among tape collectors very shortly after the concert, and quickly became a favorite of everyone who heard them—this at a time when Grateful Dead tape trading was just beginning to explode nationwide. In the pre-digital age, when all we had were cassettes, the show was part of any respectable tape collection, passed among untold thousands of people. It was always big news each time a cleaner, lower-generation copy would come through my circle of traders; had to have it! (It was also bootlegged as vinyl records and, later, CDs, and sold — boo, hiss! Not cool!) One of the late, great taper Jerry Moore’s greatest legacies is his audience recording of 5/8/77. I'm not sure whose recording I had originally; I didn't know any tapers by name back then.

But we really thought we’d gone to heaven when the much-ballyhooed show turned up among the famous “Betty Boards” in 1986-87—200+ hours of soundboard masters recorded by Grateful Dead sound engineer Betty Cantor, who stashed them in a storage locker for years, until they were auctioned off (due to non-payment of storage fees)—and bought by Dead Heads! What a treasure trove of tapes that turned out to be! So, gorgeous new SBD copies of 5/8/77 soon circulated to hundreds of thousands of collectors, further solidifying its reputation. (This chain of events also explains why 5/8/77 is, alas, not in the Grateful Dead tape vault, where it rightfully belongs, as the Dead, not Betty, were the rightful owners of their own master tapes, auction be damned.)

Jay Mabrey, Cornell class of ’77, designed this poster for the show.

The show was reproduced many thousands more times when collectors transferred their tapes to CD. “Gotta get Cornell!” Again. By the time online live music repositories started popping up in the late ’90s—such as etree and the Internet Archive (Archive.org), who entered into a cooperative arrangement—high quality versions of the show became available to anyone with a computer, for streaming or downloading. There are currently 15 versions of 5/8/77 up on Archive—audience recordings, soundboards, and matrix combo versions. I frankly haven’t investigated deeply enough to know what the differences are—which came first, which is an “upgrade,” etc. (My own rule of thumb with Archive Dead shows is I look for Charlie Miller’s name, and if it’s attached to a recording, I’ll usually check that out first, since his name is synonymous with the highest quality transfers and upgrades.) Want to know how many times 5/8/77 has been downloaded from Archive.org? Are you sitting down? I added up the numbers beside each version: 928,006 as of May 23! I’m guessing that adding in all the copies that were made (tape and digital) in the years when the Grateful Dead was actually around, and when collecting was at its apex, the number could easily reach 2 million. Incredible for a so-called bootleg recording!

Is Cornell ’77 the greatest Dead show ever, as many have asserted through the years? (It’s been a consistent poll-winner.) Is it even the best show of the justly heralded spring ’77 tour? It doesn’t matter. It’s all opinions in the end, and we each have our own preferences for certain years, certain songs, etc. I don’t like to deal in those sorts of absolutes.

But it’s indisputably an amazing show. (OK, some might even dispute that. Sorry, this time you’re wrong!) The first set is solid and occasionally spectacular—the “Loser”; that speedy-confident “Lazy Lightning” > “Supplication”; “Row Jimmy” with beautiful Garcia slide, a fantastic “Dancing in the Street” that puts every disco song on the Saturday Night Fever soundtrack (released fall of ’77) to shame. The second set reaches some of the highest moments the Dead ever attained—particularly the jam after the second (final, in those days) verse of “Fire on the Mountain” and the completely transcendent version of “Morning Dew,” which has to be heard to be believed. Throw in “Scarlet,” “St. Stephen,” a really dynamic and elongated “Not Fade Away” and the then-new “Estimated Prophet”—each played with unbridled energy and enthusiasm—and you’ve got one helluva set. Is it perfect? No. Does that diminish its greatness? Not at all.

I asked Mickey what, if any, recollections he has from the show? He laughed. “Oh, I don’t remember shows that way. I know it’s famous. I guess there’s a great ‘Morning Dew’ and some others. I haven’t heard it in many years. But if the Dead Heads say that it’s one of the best shows, I believe them. They know.

“What’s funny is my wife [Caryl] was a student at Cornell at the time but she didn’t go to the show. She was off with her boyfriend seeing Barry Manilow or some dumb thing! She never got to see the Grateful Dead until we met in the ’90s.”

Well, it’s never too late to get into 5/8! Dig it now, Caryl!

All right, now it’s time to put you on the spot. If you were to choose just one Dead concert to represent the band forever in a digital archive, which would you pick and why?

5/8/77 indeed was great, I was in Boston the night before ,and I recommend you give that a spin,and Buffalo 5/9/77. I would say its safe to say that was a magical week for the Band ,firing on all cylinders! Spent the next 30 years chasing that high of that 1st show in Boston .

borncrosseyed56 raises an interesting point. There exists a disparity that great sounding copies circulate of some of the finest shows and yet these shows don't exist in the Vault. Dekalb 77 and Red Rocks 78 to name a couple. Obviously I can't speak for all fans, but I want the greatest performances released. Of course we want great sound, but sometimes sound quality needs to be compromised if the performance is great. Just listen to Dick's Picks 22. As fans we know it may not sound perfect- I'll take an average sounding stellar performance over a superb sounding mediocre show every day of the week. The blockade of- 'it's not in the vault' should be smashed into little pieces with a sledgehammer.

est'd-eyes: The question was "If you were to choose just one Dead concert to represent the band forever in a digital archive, which would you pick and why?"

I agree that acoustic Dead was not performed live that often (or often enough). But given that it was an extra set at Radio City and elsewhere, it was kind of a "freebie." And it represents one aspect of what made the GD so great. Think of all those Workingman's Dead and American Beauty songs that sound so much better acoustic, or at not even done electric. It is a *part* of what I think represents the GD at their best. And you still get the first set songs and the second set jams that were more or less a constant at GD shows thru most of their history.

That's why I chose it, but there obviously are lots of opinions out there and different opinions will resonate with different people.

While the idea of a show with an acoustic set (1970) is interesting, it was not a major component of the band's live shows for most of its history. With the exception of two tours (1970 and 1980), the GD did not play acoustic often, so why should it be a part of its representation for all time?

Listening to Europe 72 shows, I can see putting one of those shows in-- it shows the range of the band unlike any other tour, IMO. From country and western, rock and roll, jazzy jams, acid rock jams, A Europe 72 show would be a great representation. However, they were recorded in Europe and the LOC show should have been recorded in the good ole USA. :)

...it's a digital library, so we don't have to worry about space! (Besides, I have no "rules.") I must say, in reading all these responses I have thought more about whether a '70 show with an acoustic set and maybe including the New Riders would be cool to have in there. (I like the idea of both shows of 5/15/70 and, as several have mentioned, Binghamton is just about perfect; a better show than 5/15 IMO). Not sure any of the '80 show with acoustic sets would quite fill the bill, though 10/14--final might at the Warfield--is pretty damn cool. The full 10/31/80 audio and video (including comedy interludes and crowd stuff) would certainly provide a window into the GD experience... but then so does the original GD movie.

But I still believe that 5/8/77 is a good enough and representative enough show, lack of "Dark Star" or "The Other One" notwithstanding...

with about a dozen high quality tapes, shows I now know are considered essential, covering all of the Grateful Dead's eras. They were all interesting, and also had parts that I was more or less indifferent to. But when I listened to Barton Hall, Cornell University 5-8-77, I realized there was something very special going on. Thus began my quest to find more of that same magic. Many, many, many people have shared that experience, and it is undoubtedly why this show has been put in the Library of Congress. It may not be the best show, but because of the spell it cast upon so many an unsuspecting listener, it may well be the most important.

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